Countertenors, castrati or contraltos
Tue, Oct 4 2011, 1:41PM
In a recent review of a DG / Westminster recording of Handel's Serse the reviewer noted that 'as countertenors in those days were thin on the ground the role was assumed by a contralto' (as an excuse for casting Maureen Forrester). This made me wonder if the current prevailing practice of casting of countertenors in those type of roles is really the authentic choice - did the reviewer perhaps mean that 'castratis were thin on the ground'?
And, as a follow-on, I would appreciate some enlightening with regards to the choice of countertenors in lieu of mezzos or contraltos. I would traditionally have a penchant for Forrester, Baker, Troyanos singing the Handel heroes, on record anyway, though I accept that the visual impact on stage may alter my view. My recorded Handel is limited to Richter, Leppard, Mackerras, Priestman etc but I would very much like to supplement with Gardiner, Curtis, Harnoncourt, etc. However, I am struggling with accepting the sounds of countertenors in lieu of the formiddable exclamation of those ladys. What is it I need to adjust my ear to?
Starting from the last question, I'm afraid you have to "adjust" not only your ear, but your mentality and perception, at least to enjoy the great artistry and musicianship of an Alfred Deller or a James Bowman or a Rene Jacobs and some recent "heroes" of this very difficult field.
I also prefer, on many occasions, altos (not mezzo sopranos) to these roles as well as in the respective Oratorio parts, but, when you deal with a Horne or a Stutzmann, you have the feeling you hear a woman with a "manly" voice. So, maybe it's not that bad, if you have a man with some feminine voice singing a man's role.
In any case, the music and the work counts above all the conventions of the performances. So, concentrate on the substance, not that much on the form.
Parla